COPYRIGHT: John Barnden, 1997-present. This page of the databank may be freely copied for non-commercial research/instructional use provided this copyright notice is included.



NON-MENTAL METAPHORS




... (* like a flame the thought was leaping in her brain, `Now what shall I do if when I look into this [a mirror] I don't see myself but Vera? IT'S _ACCUSTOMED_ TO VERA ... [dots in original]' *)
[[Text: source, p.139]]
{Viewing a mirror as a person. NB also its embedding within a thought reported by means of IDEAS AS INTERNAL UTTERANCES.}

My mother has (* AN ENTIRE ORCHESTRA *) of her own. [after mention of marching to a different drum]
[[Speech: source]]
{reawakening and extension of conventional metaphor}


June has give us more weather to forget than remember but (* IT TRIED TO MAKE AMENDS *) today on its final day ... [mention of hot weather].
[[Speech: source]]
{personification; negative value judgment}


You get this (* DANCE OR MATING RITUAL,*) where things [small astronomical bodies] hit, splash off each other, and re-accrete[.]
[[Text: source]]


I saw (* A CHEEKY GRIN IN HIS EYE,*) ...
[[Speech: source]]
{Possibly using metaphor of eye expression as mouth expression. But another analysis could, tentatively, be: there is a transferred epithet, with the presence of the grin as the epithet, qualifying the eye; the cheeky grin in reality qualifies the mouth expression going along with the eye expression.}


The Prime Minister's wife [supplies] (* A FABRIC SOFTENER FOR HIS STARCHY IMAGE.*)
[[Text: source]]


No man is an island, and nowadays (* NO ISLAND IS EITHER.*) Insects, bacteria and fungi hitch a ride from country to country with travellers and cargoes.
[[Text: source]]


Viking Ocean Cruises sponsors Great Moments on ITV Afternoons - where (* GREAT MOMENTS JUST KEEP FLOWING.*)
(speech in advertisement on TV channel ITV3 in UK in 2014}
{unusual metaphor for time, though within the framework of times as moving physical objects}


Jayne is our Ben Fogel.
[[Text: source]]


but it seemed that (* HE DID NOT MOVE THROUGH TIME AT ALL, THAT RATHER TIME MOVED WITH HIM, AN INVISIBLE CLOUD THAT HOVERED ABOUT HIM AND CLUNG TO HIM *) as he went forward.
[[Text: source, p.96]]
{loss of normal time-flow sense; and see next item}


(* THE DAYS SLID ONE INTO ANOTHER,*) marked by evening exhaustion and morning soreness; ... (* TIME again seemed to Andrews to HOLD ITSELF APART FROM THE PASSING OF THE DAYS.*)
[[Text: source, p.180]]
{loss of normal time-flow sense; and see previous and next items}


Week by week, and at last month by month, the men endured the changing weather. ... (* DAY SLIPPED INTO INDISTINGUISHABLE DAY, and week into week; Andrews had no sensation of passing time,*..) nothing against which to measure the coming thaw of spring. Every now and then he looked at the notches in a stripped pine branch that Schneider had made to keep track of the days; dully, mechanically, he counted them, but the number had no meaning for him. He was made aware of the passing of the months by the fact that at regular intervals Schneider came up to him and asked him for his month's pay. At such times, he solemnly counted from his money belt the money Schneider demanded, wondering vaguely where he kept it after he got it. (..* But even this gave him no consciousness of passing time;*..) it was a duty he performed when Schneider asked him; (..* it had nothing to do with the time that did not pass, but which HELD HIM UNMOVING where he was.*)
[[Text: source, p.239/240]]
{loss of normal time-flow sense; and see previous two items, incl. resonance with the sliding days in the item from p.180}


(* The great plain SWAYED BENEATH THEM *) as they went steadily westward.
[[Text: source, p.86]]
{A special sort of appearance-resemblance metaphor? See also the next entry.}


The horse beneath took him from hollow to crest, yet it seemed to him that (* the land rather than the horse MOVED BENEATH HIM LIKE A GREAT TREADMILL, REVEALING IN ITS MOVEMENT ONLY ANOTHER PART OF ITSELF.*)
[[Text: source, p.87]]
{A special sort of appearance-resemblance metaphor? See also the previous entry.}


In the evening after the sun had gone down, (* the grass *..) took on a purplish hue as if it (..* ABSORBED ALL THE LIGHT FROM THE SKY *) and (* WOULD NOT GIVE IT BACK.*)
[[Text: source, p.86]]
{First segment: light as liquid. Second segment: personification (assuming that "would not" is in the sense of "refused to")}


[T]he country ... rolled out gently before them, and they traveled from soft hollow to soft rise, as if (* they were TINY CHIPS BLOWN UPON THE FROZEN SURFACE OF A GREAT SEA.*)
[[Text: source, p.86]]
{Appearance-resemblance metaphor. (I also just wonder whether "chips" is a type for "ships".)}


During the first few days of the journey (* he had been so TORN with the raw agony of movement *..) that (..* each forward step his mount took CUT ITSELF UPON HIS NERVES AND UPON HIS MIND.*)
[[Text: source, p.86]]
{Pain (and possibly movement) as physical object tearing/cutting the body; and in the "mind" segment it's mixed with MIND AS PHYSICAL OBJECT. There may be a metonymy from the forward step to pain caused by it.}


Day by day (* the numbness CREPT UPON HIM *) until at last (* the numbness seemed TO BE HIMSELF.*) He felt (* himself TO BE LIKE THE LAND, WITHOUT IDENTITY OR SHAPE; sometimes one of the men would look at him, LOOK THROUGH HIM, AS IF HE DID NOT EXIST;*) and he had to shake his head sharply and move an arm or a leg and glance at it to assure himself that he was visible.
[[Text: source, p.87]]
{First segment: physical sensation as animate being.
Second segment: could be a metaphor equating a person with a physical sensation, but could also be hyperbole of the extent of overall sensation taken up by the numbness.
Remaining segments: person as absorbed into surrounding land: very novel metaphor?}


That's what BIRMS (* THINKS *) is the case anyway.
[[Speech: source]]
{personification metaphor, attributing a belief to a computer student-management system, BIRMS}


He (* explores THE BOTTOM OF *) the regulations.
[[Speech: source]]
{regulations as physical structure, lower parts of which are about weaker students}


[the gene] acts as a kind of (* SITE MANAGER *)
[[Speech: source]]


[it is more like] (* GOING TO MARKET *) and (* COMING BACK WITH A WHEELBARROW FULL OF CASH *)
[[Speech: source]]
{open ended elaboration of a familiar market metaphor}


My so-called personality had always been a (* COSTUME I put on fumblingly, and removed with vague, perplexed fingers;*) it (* SHIFTED *) depending on circumstances, like (* UNFASTENED CARGO in the hold of a ship.*) ... [NP] The personalities I (* ASSEMBLED *) never lasted long. Like (* QUILTS carelessly sewn together, I periodically fell apart.*)
[[Text: source, p.129]]
{Mixing of PERSOANLITY AS COSTUME view with the CARGO metaphor. Serial or parallel?}


...; fluorescent tubing hummed and quivered overhead like (* RACING THOUGHTS.*)
[[Text: source, p.104]]
{unusual case: non-mental OBJECTS AS THOUGHTS}
{NB: mixing of that metaphorical view with (conventional) metaphor of thoughts as racing. Serial or parallel?}

If (* YOU'RE *) important enough to have acquired five satellites, (* YOU'RE *) a planet[.]
[[Text: source]]
{OBJECT AS PERSON identified by impersonal "you"}

Or are the ["Now" music collections] just (* BUBBLEGUM FOR THE EARS *) of lazy music consumers?
[[Speech: source]]

There was no cosiness in the breakfast-room. The lights were not shaded, ... and their (* COLD BLAZE PRESENTED AN ATMOSPHERE OF HYGIENIC CHILL *) which even the bright fire could not dispel.
[[Text: p.96]]
{NB: mixing of cold with blazing, and of light being cold with "atmosphere" being cold}

[a (* problem *) about the regulation of banking in Europe] seems to have been (* KICKED RIGHT OVER THE LONG GRASS INTO THE JUNKYARD DOWN THE ROAD[.]*)
[[Speech: source]]
{creative elaboration of the conventional metaphor about kicking a problem into the long grass}

[The Dean] Mr. Deighton-Clerk's (* GAZE WENT SLOWLY UP TO THE CEILING *) [where there were depictions of the twelve signs of the zodiac], as if (* SEEKING COMFORT IN HIS OWN PRIVATE ASTROLOGICAL HEAVEN.*) Comfort came to him in some measure as (* HIS EYE MOVED FROM __Cancer__ TO THE TAUT FORM OF __Sagittarius__.*) ... At this moment (* THE DEAN'S EYE, VOYAGING STILL AMONG HIS RAFTERS, RESTED ON __Aquarius__,*) ...
[[Text: source p.39]]
{Grammar in first sentence is somewhat awry. It seems author means the Dean is seeking comfort, not the gaze.}
{Personification of the eye mixed with the ceiling as heaven.}

(* THE ROAD TO DOWNING STREET RUNS THROUGH CORBY.*)
[[Speech: source]]
{Metaphorical road standaing for the time course of political fortunes, but appealing to real-world point that places are connected by roads. Also a metonymy on Downing Street, to refer to being the party in power in the UK.}

We do not have a (* CHOCOLATE ARMY [that] FADES AWAY *) at the first sign of trouble.
[[Speech: source]]
{cf. chocolate teapots. NB: chocolate usually melts, not "fades", so there could be serial mixing, with melting being metaphorical viewed as fading? Or: parallel mixing with army simultaneously viewed as meltable and as fading?}

But on 1st October 2009, they moved across Parliament Square, (* TAKING THEIR POWERS WITH THEM,*) to become the first Supreme Court justices
[[Text source]]

I'll try to (* LOOP IT UP.*)
[[Speech: source]]
{"It" refers to final phase of an academic lecture.}

From today, the entire (* POLAR ICE-CAP *..) of Catholic sexual morality has started to (..* MELT).
[[Speech: source]]

The topic of the day was police brutality, but the jammed auditorium (* RANG WITH WIDER FRUSTRATIONS.*)
[[Text: source]]
{Mixing of metonymy from frustrations to utterances and metaphor of utterances constituting a ringing noise (?) .}

This is a crystal-clear example of what could be called corporate debasement of the academy and its role.
[NP]
(* IT IS NOT JUST THE TAIL BUT THE DIRTY TIP OF THE TAIL WAGGING THE DOG.*) I'm certain most academics will treat this with the contempt it deserves.
[[Text: source]]

And although Hanks can be pleasant company and is highly talented, there is an (* UNDERBELLY TO HIS PAST.*)
[[Text: source]]
{Probably metonymy from PAST to his life at that time, plus some metaphor relating to an animal.}

... I was entrusted with the road map, which (* looked like THE PLAN FOR THE INTESTINES OF A GIANT INSECT,*)
[[Text: source p.172]]
{NB: interesting simile in that the source is obscure and counterfactual: (a) we probably don't have a clear idea of what the intestines of an insect are like; (b) it's unlear why an *insect* is appealed to at all, rather than a person; (c) the giantness has unclear significance; (d) intestines wouldn't have a plan anyway. The insectness may have an evaluative effect (disgust, horror).}

But (* I could see in my mind's eye *) the placid winding streets (ways, lanes, drives) of Fernwood (* LEADING BACK FARTHER AND FARTHER INTO THE DIMNESS OF THE PAST *) I had already spent there, ...
[[Text: source p.172]]
{TIME AS LANDSCAPE, but in this case a real landscape he is receding from. Moreover, the landscape is the one he's seeing in his mind's eye. }

... the woman I called "Nada" ... was just (* A LIAR. SHE CHEATED all the time.*)
[[Text: source p.214]]
{She's a liar in that, because of her writing, previously unknown to the narrator, it's as if she had pretended to be someone she wasn't.}

We are accustomed to people (* EXISTING IN ORBIT AROUND US,*..) and we dread thinking of their deaths because of (..* THE SLIGHT TUG WE WILL FEEL WHEN THEIR PRESENCE IS GONE---WE'LL BE DRAWN OUT CLOSER TO THE FRIGIDITY OF DARKNESS, SPACE, death.*..) We are accustomed to (..* THESE SMALLER PLANETS ALWAYS SHOWING THE SAME SIDES TO US,*) familiar, predictable, secure, sound, sane, accommodating, but ...
[[Text: source p.215]]

Croisset in winter: thick fog, perfect silence, (* PERFECT EMPTINESS.*..) The (..* RICH NOTHINGNESS *) of the scene of writing is often ritually invoked in Flaubert's letters. `(* IT'S LIKE BEING INSIDE AN ENORMOUS MILK-WHITE TOMB,*)' he said.
[[Text: source p.xvii]]

A church clock struck once, slowly, (* LIKE A VOICE CALLING OUT TO HIM.*)
[[Text: source p.56]]

To bring this about he would have to (* CONQUER Fate;*) ...
[[Text: source p.77]]

That was (* A STORM IN AN EGGCUP *..) -- it didn't even make (..* THE SIZE OF A TEACUP.*)
[[Speech: source]]
{Allusion to idiom "storm in a teacup", further exaggerating the size contrast.}

Let me put that differently. It isn't that I don't like cricket, it's that (* CRICKET DOESN'T LIKE ME.*)
[[Text: source]]
{INANIMATE ENTITY AS PERSON}

And I was the wrong religion to field. A cricket ball coming at you at a hundred miles an hour is (* like AN EXOCET.*) In my faith it is forbidden to knowingly (* put yourself IN THE LINE OF FIRE.*)[NP]
[[Text: source]]
{Physical simile as part of discourse-extended metaphor, conforming to SPORT AS WAR.}

(* Yesterday WAS CHRISTMAS DAY *) for all the editors of tabloid newspapers.
{Alluding to especially interesting political events.}
[[Speech: BBC Radio 4, "Today" programme, 4 November 2005]]
{copular metaphor with semantically very close target and source}

Dame Patricia Hodgson ... will ... lambast micromanagement and (* CREEPING *..) bureaucracy [in universities] which she estimates is costing 250m a year. [NP] She will accuse the funding council Hefce and similar bodies in Scotland, Wales and Northern Ireland of diverting precious resources by trying to micromanage universities. [NP] ... "I've been appalled ... by the sector's apparent acceptance of (..* CREEPING *) intervention; and by its capacity to respond to red tape (* in spades.*)"
[[Text: source]]
{ABSTRACT DEVELOPMENT AS ANIMATE BEING}

Dame Patricia ... says that universities are responding to interference from Hefce by (*"GOLD-PLATING"*) their response. [NP] "... I've been appalled ... by the sector's apparent acceptance of (* creeping *) intervention; and by its capacity to respond to red tape (* in spades.*) [NP] In other words, to (* GOLD-PLATE *) its response to bureaucracy and centralisation," she will say.
[[Text: source]]
{QUALITY AS RICHNESS}
{NB: metaphoricity signal "in other words". But the quote marks round the first use of "gold-plating" could be just for quotation, rather than metaphoricity signalling.}

Will Plymouth [in Monserrat, after destruction by a volcanic eruption] (* RISE PHOENIX-LIKE *) from the fire? ...
Did the (* RUMBLINGS [before the destruction] REACH YOU *) in America?
{"rumblings" not meant literally in the context; refers to psychological/social effects}
[[Speech: source]]
{First sentence: INANIMATE PHYSICAL OBJECT AS ANIMATE BEING with BUILDING ACTIVITY AS VERTICAL MOVEMENT.

}
{Second sentence: IDEAS AS EXTERNAL ENTITIES (?) mixed with IDEAS/EMOTIONS AS PHYSICAL OBJECTS.

}

The weather had suddenly warmed and was threatening rain, and we flew between colossal black thunderheads lighting up (* WITH VIOLENT THOUGHTS.*) The storm loudly cracked and flashed as we sped through (* WHAT SEEMED THE MIDDLE OF A FEUD.*)
[[Text: source p.323]] {STORM AS BATTLING/THOUGHTS}

These guys don't just defeat opponents they (* DESTROY THEM PIECE BY BLOODY PIECE[.]*)
[[Text: source]]
{SPORTS DEFEAT AS BODY DISTINTEGRATION}
{perhaps reanalyzable as hyperbole}

Here's (* LICHTENSTEIN AS MAGRITTE *)
[[Speech: source]]
{explicit X AS ANOTHER X metaphorical view}

[The weather is] (* SETTLING INTO a drier FRAME OF MIND[.]*)
[[Speech: source]]
{WEATHER AS PERSON mixed with MENTAL PROCESS AS PHYSICAL MOVEMENT}

(* I DON'T KNOW HOW WE WOULD HAVE EXTRICATED OURSELVES FROM THE ESCALATING INSULTS *) if we hadn't been interrupted by the buzzer outside my front door.
[[Text: source p.226]]
{UTTERANCE AS EXTERNAL PHYSICAL OBJECT}

... (* THE FURNITURE, OVER-AWED BY THE BED, WAS DIFFIDENT *) and shabby.
[[Text: source p.263]]
{PERSONIFICATION}

Like Barbara, most of us appreciate gifts that (* SAY *) "it took time and thought to find me."
[[Text: source]]

If a good gift (* SAYS *) "Thank you for being you," a bad one practically (* SINGS OUT *) "I don't love you just the way you are." According to Dr. Berger, "These gifts are often perceived as (* SAYING *) 'with my help you can improve.'"
[[Text: source]]

Some gifts are so obviously bad-intentioned that the message is hardly hidden at all. As psychotherapist Linda Barbanel points out, "Gifts can convey: `I'm mad as hell at you.' That's tough to say out loud, so the message is delivered instead through a hostile gift."
[[Text: source]]
{MENTAL? (Indexed also in Miscellaneous Mental Metaphors.)}

Dr. Piaget notes that "Some gifts (* SAY *) `I don't think you're worth a lot.' They're so cheap that they're like leaving a one-cent tip for a waitress."
[[Text: source]]
{MENTAL? (Indexed also in Miscellaneous Mental Metaphors.)}

If only it was possible to turn the clock back, and return to that time when we were simply seeing each other. ... The (* FUTURE HADN'T APPARENTLY BEEN HURTLING TOWARDS US *) then. [NP] (* `I should never have got engaged,' I groaned inwardly;*) that was when the (* BRAKES HAD BEEN RELEASED.*) Oh, I had wanted to get engaged, but just that, and no more.
[[Text: source]]
{NB: discourse coherence between the two metaphorical bits.}

"He's not (* DEAD MEAT,*)" says one GOP consultant. "He's just (* LIGHTLY BROILED.*)"
[[Text: source]]
{note coherence: dead/broiled}

[President Milosovich] (* PULL[ED] THE RUG --- OR WHAT'S LEFT OF THE RUG *) --- from under the feet of the Bosnian Serbs.
[Speech: presenter on World At One, BBC Radio 4, U.K., 7jun95]
{NB: enlivening of an idiom or dead metaphor}






Last modified 24 August 2015